Through the use of information technique, unlimited possibilities for interplay between sound and picture, between the auditive and the visual, are opened. This interface is where Pär Frid works, and in “Déjà-vu, over and over again” he has started with pictures that stretch from visually weighted scores to the formations of flocks of birds. The arts interplay with or are opposed to nature; electronics extend or contrast with instruments, but also serve as a path into the soundscape of birds and water drops. Frid has himself described the six-movement work as an
attempt to reflect on and layer electronic “sound refuse” with birdsong from species that are in danger of extinction. Here, accordingly, one finds a clear consciousness about the situation of crisis in the world today. This takes place with structured means that are built on mathematical calculations, where the music becomes an architecture in aural form (which turns around the Romantic notion of architecture as frozen music), and on impossible optical objects that take on a sonorous form. The visual forms of nature as sound: well, how does a formation of birds actually sound?
Program note by Erik Wallrup